Car Art

Artist: Henri Renard, French (1920 - ) Title: French Street Scene Year: circa 1950 Medium: Oil on Canvas, signed l.r. Image Size: 24 x 36 in. (60.96 x 91.44 cm) Frame Size: 31.5 x 44...

An Irish Waterfront saloon from 1868 on 11th Avenue in Manhattan, still going strong! From my series on the oldest bar/taverns in Manhattan. I liked the moody grey feel to the day ag...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

Mediterranean Harbor Barcelona Montjuic Coastal Landscape Oil Painting Spanish Post-Impressionist Port Scene Artist: Antonio Sala Herrero (Spanish, 1927–...

In "Destinations", Frederick Mershimer creates an image of taxis rushing by the Fuller Building, better known as Flatiron Building. The building is only six feet wide at its rounded...

Medium: Pencil on paper Size: 9 inches (height) x 14 inches (width) Signed: No Condition: Good condition, with minor wear on the edges Provenance: From the artist's estate Description: This pencil drawing by K. B. White features a dynamic World War I dogfight scene involving biplanes, likely inspired by iconic aircraft such as the British Sopwith Camel and the German Fokker Dr. I. The artist captures the intense aerial maneuvers typical of dogfights, characterized by quick turns and tight formations, reflecting the early era of military aviation​. On the left-hand side of the drawing, a vintage race car...

'Cannon Drive' 1952: Cars driving along Cannon Drive, Beverly Hills, California. 30x30 inches / 76 x 76 cm paper size Estate Stamped Collection Edition to 150 Photo by Slim A...

Night Life in the City - Figurative Cityscape Mid 1960s cityscape by an unknown artist. Oil on artists board. Image, 16"H x 20"W

The Carlton Hotel A Cadillac with Florida plates parked outside the Carlton Hotel, Cannes, France, circa 1955. paper size 40 x 40" inches / 101 x 101 cm Estate Stamped Collecti...

Title: Pont Neuf Paris River Seine Bridge French Watercolour Cityscape by Pierre Neveu Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W...

Children on Clinton Street, 1986 by Tria Giovan From a 6cm x 4.5cm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 A...

Artist Comments
A vintage sedan cuts through a blazing blue desert sky as the driver glances out the window, caught between curiosity and concern. He knows mirages are common i...

Original oil painting on canvas, still life painting made under natural light. This artwork is painted using high-quality fine linen canvas and sold unframed. Signed on the back of a...

Gerald Berghammer - Black and white cityscape photography. Tattoo and body piercing shop with a vintage car parked in front, Las ...

Gerald Berghammer - Black and white cityscape photo. City street corner at Fifth Avenue and East 39th Street, showing tall skyscrapers, pedestrians, and cars. Archival pigment ink p...

Paris, Cafe de la Paix. Period 1920-1940s. Oil on canvas, 60x73 cm Lucien Adrion (1889-1953) was a French painter known for his depictions of the countryside and bustling street sce...

Taken in Woodstock, NY in 1968. One of the most iconic photographs of Bob Dylan. Signed by photographer on bottom right. Titled on bottom left. Available in various sizes.

This is a rare New York image by Levon West. Levon West, who also used the name Ivan Dimitri, was born on February 3, 1900 in Centerville, North Dakota....

This artwork titled "Brandenburger Tor, Berlin (Brandenburg Gate, Berlin)". c1930 is a color etching on paper by Austrian artist Luigi Kasimir, 1881-1962. It is hand signed in pencil by the artist at the lower center. The plate mark (image) size is 13 x 16.5 inches, framed size is 23.75 x 27 inches. Custom framed in a wooden ornate gold frame, white beige matting and green color fillet. It is in excellent condition, the artwork is very slightly toned around the plate mark, barely visible. About the artist. Luigi Kasimir was born in 1881 at Pettau, today Ptuj, Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the coloured etching, and also to his future wife, the artist Tanna Hoernes.[1] He died in 1962 in Grinzing, a suburb of Vienna.Kasimir was among the first to develop the technique of the coloured etching. Before this, prints were usually hand-coloured with the colour being applied in a casual, haphazard manner. Kasimir would first create a sketch usually in pastel, he then transferred the design on as many as four to six plates, printing one after the other and applying the colour on the plate, all done by hand. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favourite genres was the landscape, or veduta. He demonstrated a predisposition street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers, to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings...

A charming Parisian scene oil on canvas painting by the French artist, Johannes Schiefer. This painting is a wonderful example of his work from the prime of his career. Capturing a v...

This mid-1960s photograph, captured by society photographer Slim Aarons, features Gordon Butler's Chevrolet Corvette Sting Ray at the Bahamas Speed Week at the Oakes Course, Nassau. ...

Artificial aging technique, oil & acrylic on canvas Motion 2.2 is based on a feature about the film Ieri, Oggi, Domani from the director Vittorio de Sica in 1963

A pastel blue convertible with a bold red top stands out against the vast desert. Beside it, a couple shares a quiet moment, their conversation hinting at an untold story. A weathere...

Jean MAZZELLA Active in the 1870s/90s Harbor Entrance in Normandy Oil on canvas 41 x 65 cm (52 ​​x 77 cm with frame) Signed and dated lower right: "J. Mazzella / 83" Very good condit...

Adriaan Lubbers, 'Times Square', lithograph, 1929, edition 50. Signed, dated, titled, and editioned '(50)' in pencil. A fine impression, on cream wove paper, with full margins (2 1/2...

Artwork sold in perfect condition Double frame under American box presenting the two sides of the obelisk fountain on the Place du Panthéon. This work by Giacomo della Porta, (and li...

The quiet after a recent rain sets the stage, revealing a tranquil landscape. A vintage convertible and a solitary figure by an ice machine evoke a nostalgic, timeless scene. This ar...

SALE ONE WEEK ONLY “Santa Cruz de las Huertas Jalisco” is a whimsical, charming and colorfully ceramic rendition painted blue and red of a local bus that traversed the town where the artist Candelario Medrano...

"Juan Manuel Fangio" by Evening Standard Argentinian racing driver Juan Manuel Fangio in a Ferrari at Silverstone racetrack. Unframed Paper Size: 30" x...

A unique view of a cable car poised against billowing clouds in San Francisco. Photographer Mitchell Funk captured the precise angle at which the car reached the pinnacle of the hill...

Artist: Alexander Shandor Title: South Town Medium: Oil on Canvas Year: 2022 Style: Impressionism Dimensions: 27.5" x 35.5" x 1" inch (70 x 90 x 2cm) Presentation: Unframed, Gallery...

Provenance Acquired by the gallery directly from the artist UNFRAMED: 11" x 8" FRAMED: 15.25" x 12.25" x 1.125" Signed "Obermeyer" on lower left

A gelatin silver print, 16" x 20", signed print (verso) by the photographer, School Bus, New York City, 1954 is a black-and-white photograph, capturing Jew...

Title: Heraklion Harbour Crete Ship Milos Greek Port Scene Signed 1967 Watercolour by John Steane (b.1931) Signed: Bottom right Size: 16.5 inches (height)...

This surreal artwork captures a stark desert crossroads under a vivid blue sky, where a vintage white convertible takes center stage. Two figures add intrigue: one stands beside the ...

February 1963, JFK warns Americans that they need to toughen up by taking up the newest fad, the 50 mile Hike. In this instance Stash Radziwill along with Chuck Spalding and Agent Cl...

This artwork captures the stillness and serenity at a train station after a snowfall, presenting itself as a window to a world of winter beauty. The artist transports us to a place w...

Original 17th Grand Prix of San Marino vintage Italian poster. Gran Premio di San Marino. Artist: Giovanni Cremonini. Larger format race poster. Linen backed and ready to frame. This original poster advertises the 17th Grand Prix in San Marino. This is a great poster for Ferrari enthusiasts. Archival is mounted on acid-free paper bonded to linen canvas. The San Marino Grand Prix (Italian: Gran Premio di San Marino) was a Formula One championship race that was run at the Autodromo Internazionale Enzo e Dino Ferrari...

PLEASE NOTE: The painting will be shipped WITHOUT a frame. The framing option is available ON REQUEST with additional shipping costs. On the last day before leaving Chamzinka, I pain...

Medium: Pencil on paper Size: 5.75 inches (height) x 10.5 inches (width) Signed: Yes Condition: Good condition, slight age-related wear around the edges. Provenance: From the artist's estate Description: This pencil drawing by K. B. White features a detailed rendering of the 1938 Talbot-Lago T150-C SS Teardrop Coupé, one of the most iconic and luxurious cars of the Art Deco era. The Talbot-Lago, known for its aerodynamic teardrop shape and sleek, streamlined design, is beautifully captured in this artwork. The vehicle's flowing lines and distinctive curves are emphasized, highlighting the elegant and innovative styling that made the Talbot-Lago a standout in automotive history. K. B. White's illustration showcases his skill in capturing the essence of classic automotive design, particularly from the 1930s. The drawing not only reflects the luxury and sophistication of the Talbot-Lago but also the era's emphasis on aerodynamics and futuristic aesthetics. This piece is an excellent addition for collectors interested in vintage car art...

A photorealist painting of a vintage Lotus Elan S2. This classic British sports car was released in 1964 and has a mid century style and shape that I love! Set in Savannah, Georgia t...

'Conway' Engraving by William Watts (1752-1851) after Paul Sandby (1731-1809). From Paul Sandby's 'The Virtuosi's Museum, Containing Select Views in England, Scotland, and Ireland'...

A unique, original silver gelatin black and white photograph. Paris, La Place De La Bastille, November 1928. Features: Original Silver Gelatin Print Photography. Press Photography. P...

Pittsburgh: A Look Back - Photographs from the 1980’s I came back to live in Pittsburgh in 1975. I could see the city was changing and evolving into what would ultimately be cal...

Christo Wrapped Building Project for 1 Times Square, New York, 1985 Lithograph, collage on cardboard Ed 17 of 100 18 x 22 in Christo became famous for his monumental collaborations...

Austrian GP John Watson's Penske PC4 Ford. Championship: Formula 1 1976 (Formula 1, 1976) Event: Austrian GP Date taken: Sunday, August 15, 1976 Location: Red Bull Ring...

Harlem, 1954 by Leonard Freed, is a 14” x 11” photograph from the photographer's Black in White America book (p. 91). The gelatin silver print from the estate is stamped verso (bac...

Details 44 x 55 inches (115 x 140 cm) edition of 10 Medium: Archival Pigment Print Mounted and framed Available sizes and editions: 21 x 26 inches, edition of 7 32 x 40 inches, ed...

The American Dream abandoned in surburbia perhaps…. on the outskirts of its cities the reality of life can be both beautiful and harsh. – Cawston’s eye for colour, structure and the beauty of the mundane finds a world-in-waiting as he journeys across the American West. “The greatest part of a road trip is not the arriving but all the crazy stuff that happens along the way”. – A larger format bespoke edition is also available on request. This custom edition of 3 pieces is produced to a client’s specifications. Typically this is for pieces greater than 150cm and up to 230cm on the longest side. Please contact us for further details. Edition of 10 Presentation: Photographic print...

Duane Bryers, American (1911 - 2012) - Four Corners Cafe, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Image Size: 18 x 22.5 in., Size: 20.5 ...

"The New Steamship Cephalonia, of the Cunard Line" is an original hand-colored lithograph by Currier & Ives. It depicts a large sailing steamship. There is a significant stain in the artwork in the upper center. 12" x 16 3/4" art 21" x 26" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

One of the photographers at Mauritius Publishing based in Berlin was Nolte. His work is an unparalleled and intriguing insight into the working and everyday life of the time. Impress...

Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Artwork sold in perfect condition from a limited edition of 12 ex- Composition from an assembly of 8 ...

This artwork titled "San Francisco, Fisherman's Wharf" c.1975 is a color etching on Wove paper by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed n pencil by th...

The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...

Still Life Painting of American Diner Interior in New York City by Leading British Urban Landscape Artist, Angela Wakefield. Paintings of American Diner...

Medium: Pencil on paper Size: 7 inches (height) x 14 inches (width) Signed: No Condition: Good condition, with minor wear on the edges Provenance: From the artist's estate Descript...

Listing includes free shipping to the continental US and a 14-day return policy. Joan Didion by Julian Wasser 16 x 20 inch gelatin silver print Edition 1...

Volvo Sky is a stunning C-Type Print by contemporary photographer Samuel Hicks. It is available in this size in an Edition of 25, and is sold unframed. A vintage turquoise Volve s...

Platt, Charles Adams (American 1861-1933). BROOKLYN BRIDGE (THE EAST RIVER BRIDGE). Etching, 1888. Signed and dated in the plate. Published by Frederick Stokes and Brother. 6 3/4 x 1...